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Virtual Reality artist Collin Leix, talks about her evolution as a creative artist, from creating oil paintings to investigating the intricacies of VR art.
"Before I started my journey as a VR artist, I started out as an oil painter focusing on portraits. In the course of time, this changed because I was more intrigued by the ideas involved in the making process.
The development of an artist, starting with music, then classic artto the creation of Metaverse
I'm a violinist and became interested in the visual musical scores and different ways to interpret illustrations as musical directions. Also, I discovered that I have synaesthesia, a condition in the brain that causes a blending of multiple senses. In my case, numbers as well as colors. The experience led me to experiment more in the way I created images."
"In 2009, I began a Master's program of Fine Arts at the University of Michigan, where students were encouraged to play extensively. I began as a painter , and then finished by completing a thesis that consisted of a large installation the ceiling with animated images projected onto it. The first sketches I began using were basic stop-motion images using paint and paper, and the environment as the subject matter. It was so challenging as a medium that I knew I wanted to continue to work on it.
After my Master's in 2012, I went to the local community college in order to take a course on After Effects, and since then have mostly self-taught. I jumped into art apps, Cinema4D, and have played with cel, however I have focused mainly on After Effects. I created animations direct-to-client for several years, and was careful to create my own artful experiments in animation, and then put them on the internet.
"I had major health issues and was suffering from a bout of depression, which frequently left me on my floor, surrounded by my pet. So this was my view. I challenged myself to make something once a week and even if it wasn't a lot to be able to see myself the place I really was.
In 2018 I was hired by the animation studio Gunner located in Detroit in the city of Detroit. I've worked there since!"
How would you describe the style you use in your work?
"Realism is a constant within my heart since the beginning of my career. My style has evolved since then. includes a touch of surrealism and a sense of fun which is why I'm always studying the ways color communicates mood.
My fashion style has changed in the time since I joined Gunner. Gunner. We are often working in a group to help support different styles, so I am able to try out' styles that aren't my own. A few ways to use free brushwork, outline, or simplifying design elements are some examples of the things I've attempted and continued to do afterward. As an example, the work "Crocus" is an amalgamation of painting texture over 3D forms, both using realism as well as simple designs, employing VR sculpture and good old Photoshop painting."
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"One reason why I enjoy working in the studio is that the lines that define me as well as my personal style have blurred. Consider the film "Interruption," for instance. I was approached to write an Instagram posting for Gunner as I began to explore. I was looking to incorporate some surrealism in order to show what it feels like to be in the flow of playing music, as well as the images you can see within your head and the feeling of being interrupted.
Although I was the one who did the animating and most of the designwork, my wonderful co-worker Ian Sigmon pushed me a LOT in the design of the characters. It wouldn't be possible to achieve these crazy, long arms or the simplified shapes of body all by myself. This led us to realize that the woman's body can dissolve back into the shapes when she begins to play."
"I remember losing a high-school art competition because my artworks were not all cohesive, or in the same style. I was convinced that this was a curse however it has turned out prove to be a blessing given my current work."
What's the secret to creating your illustration?
"For me, it all must boil from a gut-feel. There's always an element of curiosity at the start of each new piece - often it's a new color scheme I want to try out or maybe it's the gesture of a quotation, or a little narrative.
The thing that makes my art distinctive is that I'm constantly trying new mediums. In the present, I'm fascinated by painting and drawing in Virtual Reality. We're also working on a short film at Gunner which covers the entire gamut of painting a cel using Photoshop, to 3D rendering to creating sculpts in VR, then projecting a painting on the sculpture. We've added a scene from the film, called Sync for a sneak preview. It's Gunner's first film directed by a woman, and it's about three strangers who travel on an airplane and something unexpected which happens during the flight.
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What advice would you give to someone who starts out with VR art?
"When looking at any technology that is new, I always have an image or idea of what I would like to make prior to implementing it. It's probably a suggestion that I can offer anyone looking to broaden their skills - make a style frame or have an idea of a sketch or story you want to do before incorporating the latest tech. You'll have a reason - a 'why'. In other words, you're just cruising around tutorials, taking on the styles of other artists and telling stories.
Here's a piece we made for a conference called Blend at Gunner during the year 2019 In which I designed and sculpted several of the natural assets in Virtual Reality. I had played with sculpting at times before, but once I knew the right 'why', my exploration and abilities grew exponentially. Below is a video overview of the scenes I created."
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"I'm very busy in Instagram also made a class on how to create your own illustrations in 3D space with Tilt Brush. There is no requirement to already be a VR artist however, you must possess a VR headset attend the class. I walk people through the process. I put SO MUCH LOVE into this!"
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